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Color palette for Wes Anderson’sThe Life Aquatic with Steve Zissou, 2004. Dark blues, muted blues, sky blue, teals, aqua, khaki, army green, tans, red and orange. Cinematographer, Robert D. Yeoman.
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Color palette for Wes Anderson’s The Darjeeling LImited, 2007. Dark browns, blacks, deep plum, midnight blue, forest green, rust, red, tomato red, coral, teals, aqua, cocoa, mauves and dusty pink. Cinematographer, Robert D. Yeoman.
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Color palette for Wes Anderson’s Fantastic Mr. Fox, 2009. Dark browns, blacks, deep plum, forest green, rust, muted pumpkin, wheat, olive, tomato red, muted violet, violet grays, mauves and dusty pink. Cinematographer, Tristan Olive.
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Empty New York | Duane Michals (D.C. Moore Gallery, New York). A series of thirty rare gelatin silver prints dating from the 1960s, the exhibition focuses exclusively on Michals’ early exploration of transitional early morning moments in New York City shops, parks, subway cars, and train stations. The influence of Eugene Atget clearly had a large impact on the artist’s early formative years.
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Empty New York, by Duane Michals. A series of photographs that he produced at the start of his career in the 1960s, is currently on view at the D.C. Moore Gallery.
